LIANG QIAO

LIANG QIAO featured image

About

Born in 1994,Changchun ,China

2013-2017,BA,Central Academy of Fine Arts,Beijing

2019-2021,MA,Royal College of Art ,London

Work and live in Beijing and London

Contact

Degree Details

Statement

My practice is often just a record. Recording my process in this time change is also a way of emotional output. These elements come from our subconscious mind, dreams, experience, or the aura of closing our eyes. They will guide us to make choices unconsciously.


The Shortest Day

The Shortest Day
The Shortest Day
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The shortest Day
The shortest Day — The contents of handmade books are composed of black, white and gray blocks of varying degrees, indicating the brevity of time. In the middle are 24 blocks of diminishing color, which means we can't change it as time passes. The two rows of irregular color blocks mean that when we face the passage of time, the only thing we can do is to make the "color" as rich as possible.
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The Shortest Day is a handmade book. The work discusses the impermanence of

time on people, with the change of colour, and people are powerless under the

motion of time as we experience it daily. 

Memories and imagination are our systems of meaning built to resist nature it

seems. The book offers a slow read, and glimpses of signification and something

fearful perhaps.

Medium: watercolor

Size: 12cm*16cm

Endless reality

Endless reality—falling
Endless reality—falling
Endless reality—appear
Endless reality—appear
Endless reality—embrace
Endless reality—embrace
The endless Sea
The endless Sea — 21cm*15cm
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Endless reality-Shuttle
Endless reality-Shuttle — 55cm*75cm

Medium: watercolor

Size: 55cm*75cm

Hey,It is a good day

Hey,It is a good day
Hey,It is a good day — I like this kind of implicit expression. It comes from my personality or some kind of experience. Even if there are too many words to say, it turns into a Hello, the weather is good today.

Medium: watercolor

Size: 55cm

Repetition

I often fantasize about being in the deep blue sea without boundaries, like floating driftwood on the sea. The sky is always a large dark clouds, but the sea is exceptionally calm. There are many water columns pouring from the clouds to the sea in the distance. I am like a narrator in a movie who can shuttle anywhere at will.
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The principle of aquatint is to change the thickness of the copper plate and thus change the tone. This method is determined by the aquatint. When I repeatedly scrape and carve on the copper plate with tools, an image constantly generates and dissolves. I experience the disappearance in the process of scraping and carving, and struggle in whether it is effective. At the same time, I enter my own world and become its architect and arbiter, breaking through the void and nothingness.

Medium: Etching